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THE ZIBBY GARNETT TRAVELLING FELLOWSHIP
Traditional restoration of the 1000-year-old Malakartse Stupa – Zangla, Ladakh,
India
Report by Hannah Winn
Fresco painting conservation
Malakatza Stupa, Zangla – Zanskar Province- Ladakh Northern India
13th July – 25th September 2017
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Contents
Introduction……………………………………………………pg 3-4
Study trip information……………………………………… .pg 4-6
Journey to Zangla……………………………………………. pg 7-10
Living Arrangements………………………………………… pg 11
Accessing the Malakartse Stupa……………………………. pg 12-16
Clients Brief…………….…………………………..…………pg 17
Conservation work…………………………………………….pg 17-20
After the project……………………………………………… pg 21-25
Conclusion…………………………………………………….. pg 25-27
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Personal Introduction
My name is Hannah Winn and I am a British 24 year old recent graduate in
Conservation Studies from City and Guilds of London Art School, a three year
degree course that specialises in stone, stone related materials, wood and
decorated surfaces as well as painted surfaces. The course covers material
science, chemistry, conservation ethics, history of art and practical conservation
skills. I wanted to gain practical experience that would help further my career in
the cultural conservation of architectural surfaces.
The Himalayan region fascinates me because of its ancient cultural traditions and
religion, its inaccessibility, the incredible vast sweeping landscapes, and the
changing political and social landscape. I wanted to understand how and to what
extent the conservation of the cultural heritage in this region could influence its
future, and to what extent the locals would embrace the change and to what
extent they would reject it. I wanted to understand how they would approach the
conservation issues, and how this might be in contrast to my own taught western
methodologies.
One aspect of my degree course involved painted and gilded surface and the
study of pigments. I became drawn to frescos during my first year, when we
were taught a module of fresco techniques, but I wanted to gain more experience
of this in a real world scenario. The project therefore was an amazing
opportunity to work in a country and environment that was in complete contrast
to my own, and learn more about the different materials involved with restoration
in this remotest of locations.
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I learnt of the Zibby Garnett fund through my university, where in the past
students have applied for the Zibby Garnett travel fund to help fund their
involvement in conservation projects around the world.
Study Trip Introduction
I travelled to Zangla, an extremely remote village at the end of the Zanskar
valley in Ladakh, Northern India. Zangla is 3600 meters above sea level and is
home to around 100 families. Their traditional social structure is under strain
from the encroachment of western consumerism and growing interaction with
non-Buddhist people from the region and further afield.
Ladakh lies in the heart of the Indian Himalayas,
close to the borders with Pakistan and China,
and has been described as “The Last Shangri-
La”. It is famous for its beautiful monasteries
that appear as whitewashed monuments in the
otherwise brown and rocky landscape.
Fig 1. Team photo
Fig 2. Map
showing
where Ladakh
is situated
within the
region of
Jammu and
Kashmir
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My work focused on the conservation of wall paintings inside the Malakartse
Stupa, a 1000-year-old Stupa whose interior is composed of beautiful frescos.
The Stupa literally hangs off the edge of a steep mountain. The project was both
practical and theoretical, and covered both the art history (iconography) of the
Stupa, condition reporting, as well as learning how to utilise materials from the
surrounding area for conservation purposes. All the conservation practices were
traditional and have been practised for over 1000 years. Ladakh is very high
altitude and the winter is extremely cold, so we tried to use locally available
materials, which are known to be suited to the harsh climate.
This project was part of a wider development program in Zangla run by Csoma
Room Foundation, a Hungarian NGO. Csoma Room Foundation is named after
Alexander Csoma, a 19th century pioneer of linguistics, who travelled throughout
Ladakh in search of the roots of the Hungarian people in central Asia. Csoma
authored the first English Ladakhi dictionary and grammar and he is recognised
in Ladakh for his contribution to the region’s recent history. Csoma Room
Figure 3. Zangla at
night
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Foundaton started work in Zangla in 2008 with restoration of the badly damaged
16th century Zangla palace, and has since carried out other work to support the
local community, including building a school.
Itinerary
Location
Dates
Delhi
13th-15th July
Leh 15th – 18th July
Zangla 19th July- 12h September
Leh
12st - 15th September
Tur Tuk (Nubra Valley)
15th- 18th September
Leh
18th – 20th September
Pangong lake
20th – 22nd September
Leh 22nd -23rd September
Delhi 24th September
London 25th September
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Journey to Zangla
I arrived in Delhi on the 13th July, where I stayed with an Indian conservator and
her family who I had met when working at the National Museum in 2016. I spent
3 days exploring museums, temples and markets, and had the rare privilege of
celebrating the first birthday of their son Ayaan, where Indian cuisine was
somewhat forcefully given to us as we struggled through a 10-course meal!
On the fourth day I got a very early flight from Delhi to Leh, the main town in
Ladakh, where I rested for a couple of days to adjust to the high altitude. The
flight into Leh crossing the snow-capped Himalayan peaks was memorable, but
the road journey from Leh to Zangla was epic by any standard! With roads that
open up for only a few months a year and are frequently blocked by landslides,
these 470kms tested me, at times scared me and left me spellbound.
Fig 4. Celebrating
Aayan’s 1st birthday
party
Fig 5. The view flying
into Leh airport
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A couple of hours after departing Leh in a local shared jeep, civilisation
vanished. The road crossed Tanglang la, one of the highest mountain passes in
the world at over 5300 meters. The view at the top was spectacular. The entire
pass was laid out before us. We were level with the snow-clad peaks surrounding
us and colourful prayer flags were strung around. The road sign proudly
announced that we were indeed at the highest point of our journey to Zangla. We
felt on top of the world!
Fig 6. Traffic jam at 4876.8
meters
Fig 7. Road hazard- a
traditional Pakistani
lorry on its way to Kargil
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After a 10-hour drive, we reached Kargil, the Islamic capital of Ladakh, in order
to rest for the night in a homestay and refuel. Kargil is a very conservative town
and photography was forbidden. Despite covering ourselves and even our eyes,
we appeared to attract quite a lot of attention!
We woke early for the 12 hour drive to Zangla as it was important to reach
various river fords before the temperature and snow melt raised their levels.
After Kargil the roads turned from metalled to dirt and the journey became
Fig 9. The last stretch of
concrete road, before the
Zanskar valley.
Fig 8. Kargil from above
Fig 10. A typical
hilarious road sign on
our way to the Zanskar
valley
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increasingly bumpy. The views remained extraordinary and we kept ourselves
amused on this long journey by the road signs, such as this, which are
commonplace in Ladakh.
Living
Arrangements
Fig 11. Waking up before
sunset ready to set off on our
next stretch of our journey
Fig 12. A stop in the
Zanskar valley.
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For the majority of the placement I lived with a host family, alongside a few of
the other interns. We were very fortunate with our hosts, who were most
welcoming and accommodating. When we were working onsite for longer than a
day, we would camp out in an abandoned cave close to the Stupa, as a return
walk from the village to the Stupa would take almost a day.
Accessing the Stupa
Fig 13. Our host parents and other interns who I lived with in Zangla
Fig 14. Photograph of the cave in relation to the stupa
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The Stupa is situated approximately 20 miles from Zangla village and at an
altitude of approximately 6004.56 meters reaching
the Stupa involved a tough and challenging 6-hour
adventure. This included walking along a narrow
irrigation channel dug into the side of a cliff with
a sheer 200 meters drop on one side; fording
several ice-cold and fast flowing glacial rivers;
and a four hour uphill climb on poorly maintained
and crumbly paths. One can only be astonished by
how the ancients managed to create this Stupa in
the harshest of terrains.
Fig 15. Photo of the Stupa
situated on the edge of the
sheer mountainous edge,
the Stupa was the only flat
space for at least 2 hours
either up or down
Fig 16. The stupa situated
on the edge of a cliff face
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Fig 17. Walking along the canal
Fig 18. A difficult section of the canal, where
you must bend over or go on all fours to
continue along it
Fig 19.
Climbing the
cliff face to
reach the
stupa.
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Malakartse Stupa: Condition
The Stupa was built in approximately the 11th century close to the King’s
original fort (now largely eroded, and details faded) and was used as a strategic
defence for Zangla. From the outside it has four discernible levels – the base, two
middle sections and the roof cone. It is made from clay and stone on the outside
and is divided by the use of flat stones – however the original shape is unknown.
It has one open
(uncovered) entrance
and a repeated relief
design around the top
edge of the base, with
very fine detail. This
is an artistic relief
and not simply a
geometric one.
Inside, the surviving decorative surfaces/frescos can be assumed to have been
made by artisans from Kashmir, which was originally Buddhist before it was
conquered by the influx of Muslim Sufis preachers from Central Asia and Persia,
beginning in the early14th century. This is found in the unusual iconography,
particularly noticeable with the imagery of ducks in the upper corners, something
that is certainly not Ladakhi! The motifs were also predominantly of women,
Fig 20. A
photograph of
the original
fort
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suggesting that the Stupa was designed to commemorate a woman rather than a
man, something which is rarely seen in Kashmiri style wall paintings. It is likely
therefore that the woman being celebrated on the walls was a Queen or the wife
of a King, who was considered important enough to be celebrated in this way
after her death.
Due to the Stupa’s ancient frescos and its originality, as well as it importance to
the heritage of Zangla, the Csoma Room Foundation is committed to conserving
it, despite it being infrequently visited and not currently used for religious
purposes.
The Stupa itself has been deserted for many
generations and has been quite severely
damaged: its roof is partially collapsed and
dust and moisture have penetrated the inside,
causing deterioration of the walls and murals.
Fig 21. A section of
the wall paintings
inside the stupa
Fig 22. A wider angled view of a
section of wall paintings inside the
stupa
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Above the entrance is a small hole and the ceiling is in poor condition. Almost
two thirds of the inner structures of the roof stones have fallen in and the ground
has a thick layer of dust. There are large cracks on the sides and middle walls
that emphasise the potential for future structural failure. And there is no lintel
above the entrance, so this has again resulted in structural problems.
One of the walls is missing a statue (no other statues appear to have once been
present) and has holes left behind from when it was forcibly removed. This is the
only wall where a sculpture once belonged.
Client Brief
The client was the current King of Zangla named King Gyalses Nima Norbu
Namgyal Ladey who is 87 years old and who we met for tea and Hungarian
snacks. He is a very traditional Buddhist man with a proud bearing and loud and
projecting voice. The King has three wives, two sons and three daughters. He
told us that he was no longer able to reach the Stupa as the walk was too difficult
in his old age, but he wanted the Stupa restored to as close as possible to its
Fig 23. A view
of the entrance
to the Stupa
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original condition. Most importantly, he wanted the iconography to be repaired,
as it is these colourful motifs and symbols that are essential that are essential that
are essential to the building’s future religious function.
Malakartse Stupa: Conservation
The project involved reconstructing the broken roof and floor, stabilizing the
wall structure and conserving the particularly important wall paintings that cover
all the four walls of the Stupa inside.
The first task was to repair the roof, which was done using kalak (a clay-like
substance that is locally sourced) and flat stones in-between the layers for extra
re-enforcement. It is essential for the longevity of the Stupa that the architectural
structure should be maintained and we therefore developed a plan to ensure the
fabric of the building is monitored and reinforced by Csoma Room Foundation in
future years.
Fig 24. My first
tea with a king!
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We then turned our attention to the interior of the structure. We compiled a
condition report on the interior (as well as exterior) of the building and of all the
wall paintings. This included taking photos and making drawings of all the
figures and motifs, to ensure a permanent historical record of them in their
current conditions. Drawings were executed using tracing and transfer paper.
We then carried out work to consolidate some of the paintings with the worst
damage, in particular by filling holes and cracks with kalak in order to stabilise
the walls and prevent further deterioration. Finally, we restored some of the
colours on the key figures using traditional materials, as well as the black borders
around them. The following process was used:
1) Apply a smooth layer of kalak, adding hay as an organic reinforcement
2) A plaster-like whitewash comprising animal glue and white pigment.
3) Initial under-drawings using a thin brush approximately 1mm-2mm and a
red pigment to transfer the design.
4) Paint the blue background with possible missing patterns (halo, clothes
etc).
5) Using a dark ochre, start to create the shading of the figures and outline
them using a very thin brush. Use this black to outline circles and hair
and the thick lines of the borders and shapes. Use these dark colours on
the background as well (colour gradation).
In comparison the Kalak was easier to prepare than any alternative Western material or
technique, as the Kalak could be easily made from found raw materials found near to the
Stupa, and could be simply mixed and prepared also using basic materials from close by.
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This saved a lot of energy not having to carry all the materials along this extreme climb.
Having the materials at such a close proximity also ensured there was almost limitless
quantities that could be used at any time which in comparison to any Western materials
would have had to of been brought in would be far more limiting in comparison. It was a
simple and effective technique that had been used for hundreds of years and matched the
original scheme and methodology.
Fig 25. An example of
the transfer drawings
taken
Fig 26. Revealing
and repainting a
figure.
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Further restoration work on the murals will be continued in 2018 by the
Courtauld Institute, which is interested in the Stupa due to its provenance and
history. It will use our initial assessments and material analysis in order to build
on the initial conservation measures we applied.
After some scepticism from local people about the value of devoting time and
money to the restoration of the Stupa, we were encouraged by the local response
to our project. By the end of our stay, the villagers seemed much more positive
about the restoration work and the farmers who work in the direction of the
Stupa were pleased as they felt this could be a sanctuary for them to pray and if
they needed to stay in the mountains for a period of days.
Fig 27. The samples taken
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After the Project
After the placement I allowed myself around two and a half weeks to travel and
explore Ladakh further
It took a few days back in Leh for us to sort out the difficult bureaucracy of
getting passes to travel further afield, and arrange buses and a tent. In Leh we
visited some of the closer large monasteries, as well as waiting for the Internet to
work so we could contact our families!
Fig 28. A huge
carved 10th century
Buddha carved into
the side of a
mountain, where a
temple resides
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I was fortunate enough to see Ladakh from both an Islamic and Buddhist
perspective. After our stay with a Buddhist family in Zangla, we were able to
secure passes to visit Tur Tuk, a picturesque village in the Nubra valley close to
the border with Pakistan and surrounded by the Sampa fields. The village was a
part of Pakistan before it was won over by the India during the Indian/ Pakistani
war. The village still has a Pakistani feel, and many buildings are constructed
with gerry cans left over from the war. There were also large gravesites, where
gerry cans have been used as gravestones to commemorate Indians and
Pakistanis who lost their lives in the war.
Fig 29. Enjoying some jaw dropping scenery in Tur Tuk , looking towards the Pakistani mountains
Fig 30. Sweeping
white fields of sampa
in Tur Tuk
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As well as visitng Tur Tuk we were lucky enough to secure passes to travel in
the opposite direction, towards China and visit the huge Pangong Lake, which
stretches across the border of India and China. We camped there and experienced
running along side the wild horses. We met a yak farmer who gave us tea and
watched the sun set over the huge lake.
Fig 31. A local mosque in Tur- Tuk
Fig 32. Enjoying the views of Pangong Lake
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Fig 33. Enormous Pangong Lake
Fig 34. The Yak herder we met
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Towards the end of our stay we were able to experience some more modern
Ladakhi culture, such as watching the Ladakhi marathon (the highest marathon
in the world) and the Ladakhi festival, a celebration of all things Ladakhi where
the school children and locals dressed in traditional costume to celebrate Ladakh
and its hopes for the future.
Conclusion
I discovered many new experiences in Ladakh and found the trip both
challenging and rewarding.
I learned a lot about the local culture and artistic heritage, and I came away in
awe of the resourcefulness and toughness of the original artisans who built the
Stupa. I improved my knowledge of traditional processes and materials used in
the construction of the Stupa and similar structures of that era in Ladakh, and the
samples we took back to Europe for analysis should further add to that
Fig 35. Running alongside the wild horses!
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knowledge, which will be vital in ensuring that future restoration work is
appropriate and sympathetic.
I came away with a better understanding of the effects of climate change on
vulnerable heritage buildings in that part of the world. Global warming is having
a significant effect on the longevity of Himalayan monasteries and Stupas due to
the increasingly extreme cycles of hot and cold, with heavier flash floods in the
summer. Neither the monasteries are designed to withstand this, nor the
Ladakhi’s culture and government prepared for these rapid changes. The
government do not have the money to pay to adapt to these changes and are
relying on the Chinese to build the region’s infrastructure, which is reflected in
the influx of Chinese style architecture and the use of modern and synthetic
materials in new monasteries being built.
I also returned with a deeper insight into Buddhist views on conservation. I
quickly learned that colour and form were very important aspects of their
religious art and it was most important to them that this be conserved. It was not
necessarily important who executed or maintained the artwork, so long as it was
historically accurate and the result was a recognizable figure from the sutras.
On a personal level, my time in Ladakh improved my self-confidence and leaves
me positive about pursuing a career in conservation of cultural heritage. As
someone with Aspergers Syndrome, the challenges of travelling to and staying in
a remote community such as Zangla were significant, but I felt that I performed
my role well, that I interacted and cooperated with the rest of the team
effectively, and that together we made an important contribution to the
conservation of this ancient and important building.
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Cost of Trip
I worked in Zangla for a total of six weeks,and then travelled to Pangong Lake
and Nubra Valley before returning home on 25th September. The total cost of the
trip was approximately £1,700. I was awarded £1000 by ZGTF. The rest of the
money was raised by part time work as a waitress and babysitter.